Sentences with phrase «much oil paint»

In 1958 DeFeo began working on The Rose, a monumental work created over eight years, with so much oil paint that she called it «a marriage between painting and sculpture.»

Not exact matches

But, in using it I noticed it seemed to oxidize [become somewhat hard like «paint»] much more than, say, olive oil.

First off, bare wood soaks up chalk paint just as much as it does oil or latex paint.

But I can not tell you how much I love the oil painting of the baby birds!

I have a positive personality, grounded, physicall y fit, sence of humor, full of life attitude, caring, loving, common sence and much more.lol I love art (start oil painting), love nature, traveling abroad.

A slender, much - loved picture book built on dream - smudged oil paintings become an intricate, polished, indefinably askew digitally animated film about the purity of childhood faith, with Tom Hanks taking on five roles.

The film also goes a bit easy on its characters considering the time period (apart from Carol's custody battle, they don't experience any persecution), and while it looks gorgeous — like an oil painting of soft pastels — you don't feel the romance as much as you should; it's sensual, but emotionally distant.

You can carry it with you much more easily than you can a symphony or an oil painting.

The world of Abandon Ship is heavily inspired by naval oil paintings, embracing the beautiful aesthetic of artists like Willem Velde, James Wilson Carmichael and Ebenezer Colls (so much that borders are literal picture frames).

A 1999 oil painting by Jeff Koons, Loopy, is estimated to bring nearly four times as much as another work by the artist, also from 1999, for sale at Sotheby's this week.

The well - known fragility of Reinhardt's black paintings is a technical result of trying to force paint to look black rather than dark gray, by leaching out much of the oil a tube of paint contains.

Otherwise, the elements and criteria of the work are much the same; pigment color and property, paint binder of oil or gum arabic, form or composition, and asymmetrical balances, dissonances, and harmonies.

This selection of tough and tender, large - scale works of oil on canvas are so much about painting that we could call Eisler a painter's painter, and yet they use painting as an added layer of mediation.

John Hartley Much as David Levinthal's War Games series depicts combat through staged photographs of toy soldiers, the Fort Worth - based Hartley draws from his interest in toy collecting and the human figure to create oil paintings that explore militaristic, religious and social themes.

Innerst would explore subject matter as subject matter in his work, producing oil paintings of landscapes, still lifes, cityscapes, historical scenes, interiors, et al., yet so deftly painted that his works were prized as much for their beauty as their conceptual rigor.

There is a sense of estrangement in both paintings (as there is in much of the work in this room), with their subtle departures from the conventions of abstract painting — Thompson's perfect geometry drenched in oil bleeds; Martin's imperfect geometry quavering on a flimsy armature — stirring a shift in expectations and the anxieties that accompany it: a locus of confusion, hostility, and acceptance that the art critic and historian Dore Ashton called «the unknown shore.»

Much later, he was to draw on these dual interests in his oil painting Ground, begun in 1971, though altered in 1995, in which the plan of a football pitch is reduced to a virtually abstract composition.

Much as David Levinthal's War Games series depicts combat through staged photographs of toy soldiers, the Fort Worth - based Hartley draws from his interest in toy collecting and the human figure to create oil paintings that explore militaristic, religious and social themes.

From his signature «blackboard» paintings (which are oil on canvas) to the more representational landscape paintings in this exhibition, Fisher constructs constellations of ideas, thoughts, and images much like the disjointed nature of the unconscious and that of memory.

Two of Eddie Martinez's silkscreen ink, oil, enamel and spray paint works on canvas — including one that contained chewing gum — went for as much as $ 75,000 each.

Even in their best work, there remains the sense that oil paint was as much of an impediment to artistic realization as it was a means.

In much the same way, the structural ambiance of Stephanie London's Mid-Century Rose (oil on linen, 2014) would seem to owe almost as much to Joseph Alber's Homage to the Square series as it does to traditional horticultural painting.

The large oil on canvas painting that carries the name of this exhibition, «The Landscape in a Still Life,» is much like a portrait of a garden.

His energetic brushstrokes are in contrast to the much more somber value of color frequently used in his oil paintings.

A very much similar technique is used for his works on paper, where he applies oil paint through the tulle.

One piece that especially stood out — a large work made up of twenty white paper squares divided by a thin wooden frame on which much smaller squares and rectangles painted in oil had been arbitrarily placed — is a visual testimony to the love of music and poetry that informs the creative work of this painter.

In Ligon's paintings, the instability of his medium — oil crayon used with letter stencils — transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates.

The great Social Realist painter Raphael Soyer, A 1917, whose family emigrated to NY from Russia, at the turn of the 20th century, pretty much took me under his wing when I was 16 years old; and taught me oil painting.

Gilad Efrat, who lays layers of thick oil paint only to engrave within it or the subtract from it, functions much like that ancient writer, who imprints marks by stakes onto a soft mortar plaque, hurrying to affix meaning onto the surface of the material before it will harden.

This certainly seemed a good way to sum up the animated, unruly parade of footballers, Hollywood royalty, cut - out dolls as well as Queen Elizabeth, all of which — along with rumbustious dogs, elephants and much more — have been whipped into existence with lashings of oil paint.

'' [the drawings] are much more definitely objective, based more directly on the model, than the paintings in oil would appear to be.

Forgotten Promises includes some favorites and some newer works from Damien Hirst such as stunning photorealistic oil paintings of butterflies, diamond cabinets, the much talked about diamond encrusted baby skull, and much more.

I made large - scale paintings in oil, which were very much about expressive mark - making.

Combining oil painting and textile collage, the colour palette is very much inspired by a 19th century approach, with Fritz Bornstück working like an impressionist in the field, while at the same time turning the works around to pull them in a decidedly more contemporary direction, inflicting contrasting architecture and items on the classical compositions.

If this dreamlike tableau isn't really animated — it isn't clear who's being killed and by whom — this is art that's designed to resonate in the mind as much as the eye: a sumptuous magic realism for the digital age, with a random, search - engine - like connection - making rendered in oil painting that delights with the sheer richness of its surfaces.

Beautiful original oil painting on canvas by the much sought after Swiss born painter, Michele Lehmann.

With a new solo show called Immersion at LA's Corey Helford Gallery, Oliver describes his latest series of oil paintings as «much quieter, simpler and spacious» than he initially intended.

He had much skill in oil painting, and in the setting of his mise en scene, but he had none of the deep understanding and sincerity of Jean - Francois Millet in his treatment of the life of the people.

I don't know if we talk about that as much anymore, that everyone can have a visual experience with oil paint, no matter who you are or where you are from.

Ayres's career attests to her experimental spirit, as she switched from oil to acrylic paints for much of the 1960s and early 1970s — creating textured surfaces — only to later return to oil.

Curated by our Chief Curator Rebecca Wilson, the exhibition, entitled «Domestic Fictions,» presents a new series of paintings which are as much about the «luscious butteriness of oil paint,» as Wood puts it, as they are rich narratives about an eclectic cast of characters.

Zeng Fanzhi's 1994, 70 5/8 inch - by - 78 3/8 inch oil painting, «Untitled (Hospital Series),» the star Chinese contemporary lot at the evening sale that was expected to fetch as much as HK$ 12 million, sold for HK$ 19 million after fierce competition involving Wang Wei, wife of millionaire Chinese stock - investor Liu Yiqian, and one other auction - room bidder.

Zao remained wary of objectively Chinese - influenced art and avoided using ink for much of his career, preferring to work with oil paints in a calligraphic style.

The canvas just as much a part of the painting's materiality as the paint, Varadi describes his works as «oil and canvas,» not oil on canvas.

I use oil paint pretty much straight out of the tube.

The paintings, many of modest size, vary in medium from traditional oil and acrylic to gold leaf and other non-traditional materials; the drawings include graphite, ink and natural pigment drawings and range from post-it note size to much larger scale drawings.

Untitled (1964) is a work on paper in charcoal and red oil paint that recalls the structure and intervals of post and lintel architectural, and both Italian Renaissance interiors and the much earlier Roman interior wall painting of Pompeii.

How much of a view, how much promise and freedom and openness do these digital windows provide, and how does that compare to the «window» offered in classical oil paintings?

It's built from salvage, a 12ft wide by 8ft deep and 8ft high confection of architectural bits and bobs: sash windows, recycled roof slates and a foppish Regency pediment, filled with books, much crockery, candles, oil paints, more salvage and an armchair.

Now, you might know how much I love scoring thrift store oil paintings, if not click here and here.